Chapter XVIII: Part III: From 1824 Till Beethoven's Death in 1827 (7)

This card having been largely distributed, all the necessary arrangements for the funeral were made with the utmost zeal and promptitude by Mr. Haslinger, the music publisher, and Messrs. Schindler and Hart, friends of the deceased. The morning was fine; and at an early hour crowds of people began to assemble on the Glacis of Alservorstadt, the quarter of the town in which Beethoven resided. Towards the middle of the day, the numbers had increased to upwards of twenty thousand persons of all classes; and so great was the pressure round the residence of the deceased, that it was found necessary to close the gates of the court-yard, where, under an awning, stood the coffin raised upon a bier, and surrounded by mourners. At half-past four the procession began to move, the way having been cleared by a body of the military. Eight principal singers of the Opera-house--Eichberger, Schuster, Cramolini, A. Müller, Hoffmann, Rupprecht, Borschitzky, and A. Wranitzky--had offered to carry the coffin on their shoulders. After the priest had pronounced some prayers, the singers performed a highly impressive Funeral Chant by B. A. Weber, and the whole procession moved forward in the following order:--

1. The cross-bearer; 2. Four trombone-players--the brothers Böck, Waidl, and Tuschky; 3. The master of the choir, M. Assmayer; and, under his direction, 4. A choir of singers--M. Tietze, Schnitzer, Gross, Sikora, Frühwald, Geissler, Rathmeyer, Kokrement, Fuchs, Nejebse, Ziegler, Perschl, Leidl, Weinkopf, Pfeiffer, and Seipelt, which, alternately with the trombone quartett, performed the Miserere. This walking orchestra was immediately followed by, 5. The high priest; 6. The coffin, borne by the above-mentioned opera-singers, and attended by the chapel-masters--- Eybler, Hummel, Seyfried, and Kreutzer, on the right, and Weigl, Gyrowetz, Gänsbacher, and Würfel, upon the left, as pall-bearers. On both sides, from the beginning of the procession to the coffin, were the torch-bearers, thirty-six in number, consisting of poets, authors, composers, and musicians, among whom were M. Grillparzer, Anschütz, Bernard, Castelli, Mayseder, C. Czerny, J. Böhm, Linke, Hildebrand, Schuppanzigh, Holz, Katter, Krall, Baron Lannoy, J. Merk, F. Schubert, Riotte, Schoberlechner, Steiner, Haslinger, Sig. Lablache, David, Radichi, Mechetti, Meric, Pacini, Meier, Schick, Schmidl, Streicher, Weidman, Wolfmeyer, C. Graf, Raimund, Piringer, Grünbaum, &c.; the whole in full mourning, with white roses and bunches of lilies fastened to the crape on their arms. Next followed Beethoven's brother, and M. von Breuning, (one of the earliest friends of the deceased, and the executor of his last will,) the pupils of the Conservatorio, and the scholars of Kapellmeister Drechsler, (the thorough-bass teacher of St. Ann's,) all deeply lamenting the loss which the musical world had sustained.

As the procession approached the church, the _Miserere_[208] was entoned to an original melody of the deceased, with an accompaniment of four trombones. The history of this striking composition is as follows:--When Beethoven was, in the autumn of 1812, visiting his brother, at the time an apothecary in Linz, he was requested by M. Glögll; Kapellmeister of the cathedral, to compose some movement of a solemn kind for the approaching festival of All Souls. Beethoven willingly undertook the task, and wrote a piece, entitled _Equale a quatro Tromboni_, remarkable for the originality of the harmonies, and its faithful imitation of the genuine antique style.[209]

On the morning of the 26th of March, 1827, when all hope of Beethoven's recovery had been given over, Mr. Haslinger repaired with it to Kapellmeister Seyfried, with a request that he would adapt the words of the Miserere to this _Equale_, that, the body of the prince of musicians might be accompanied to its everlasting rest by his own creations. M. Seyfried, in pursuance of this idea, undertook the work, which was finished the night following Beethoven's death, with infinite judgment and good taste. The movements were arranged for four voices (two tenors and two basses) and four trombones.

On reaching the church, the body was placed on a bier at the foot of the high altar, when, after the usual prayers, was sung the solemn anthem _Libera me Domine, de morte eterná_, composed by Kapellmeister von Seyfried, in the genuine ecclesiastical style. On quitting the church, the coffin was placed in a hearse drawn by four horses, which proceeded towards the burial-ground at Währing, followed by a line of more than two hundred carriages. On reaching the gates of the cemetery, the following poem, from the pen of Grillparzer, was recited by Anschütz, the tragedian, in a very feeling manner:--

'Tis done! A master-spirit of the age
Has pass'd away to his eternal rest:
Henceforth his name belongs to history's page,
Enroll'd with men the noblest and the best.
Yet, though his name does to all time belong,
Ye lately heard and saw the wond'rous man,
Ye heard his living voice, his living song,
And to receive his dying accents ran.
Then deep in mem'ry treasure up his form:
That brow, though stern, with sweetest fancies fraught,
That eye with inspiration kindling warm,
That bosom labouring with the force of thought.
And ye, to whom it was not given to view
His living lineaments with wond'ring eye,
May in his tones behold him pictured true,
In breathing colours that can never die.
Yes: he could paint, in tones of magic force,
The moody passions of the varying soul--
Now winding round the heart with playful course,
Now storming all the breast with wild control.
Forthdrawing from his unexhausted store,
'Twas his to bid the burden'd heart o'erflow:
Infusing joys it never knew before,
And melting it with soft luxurious woe!
We came his funeral rite to celebrate,
Obedient to fond love and duty's call;
But on this moment such proud feelings wait,
It seems a joyous birthday festival.
He liveth! It is wrong to say he's dead:--
The sun, though sinking in the fading west,
Again shall issue from his morning bed,
Like a young giant vigorous from his rest.
He lives! for that is truly living, when
Our fame is a bequest from mind to mind:
His life is in the breathing hearts of men,
Transmitted to the latest of his kind.

Baron von Schlechta and M. Castelli read short but eloquent poems to the sorrowing multitude, and, before the grave was closed, M. Haslinger put into the hands of M. Hummel three wreaths of laurel, which were dropped upon the coffin. The mourners waited till the earth was smoothed over the grave. All the visitants in turn took a last farewell of the mortal remains of a great genius, and returned home in silence, the shades of evening having by this time gathered around.

On the 3rd of April, 1827, a solemn tribute was paid to the memory of Beethoven at the imperial church of St. Augustin by the performance of Mozart's _Requiem_, in which the great singer Lablache sung the bass part, in a manner that produced a deep impression and shows him to be a profound artist: the whole terminated with the solemn _Miserere_ and _Libera_ of Kapellmeister von Seyfried. On the 5th of April, 1827, was performed, in the church of St. Charles, the whole of Cherubini's celebrated _Requiem_, admirably executed under the direction of Kapellmeister Hummel. A musical performance also took place, by way of opening a subscription for a monument to Beethoven. It commenced with the celebrated Pastoral Symphony of the lamented master, which was followed by a _Kyrie_ from his second Mass in D. From the Abbé Vogler's celebrated _Missa pro defunctis_, were given the _Dies iræ_, the _Sanctus_, and _Benedictus_. The whole closed with Catel's Overture to _Semiramis_. The selection was admirably performed, and the object proposed adequately fulfilled.

LATIN EPITAPHS

ON

BEETHOVEN'S TOMB.

1.

LUDOVICO . VAN . BEETHOVEN.

Cujus.
Ad . Triste . Mortis . Nuncium.
Omnes . Flevere . Gentes.
Plaudente.
Coelitum . Choro.

2.

IN TUMULUM LUDOVICI VAN BEETHOVEN.
FATO mortalis; VITA bonus; ARTE perennis,
MORTE suum MORIENS eximit ipse decus.

MISERERE,

PERFORMED AT BEETHOVEN'S FUNERAL, AT VIENNA, MARCH 29, 1827.

LIBERA.

(BY SEYFRIED.)

No. VIII.

CONCERT IN AID OF BEETHOVEN'S MONUMENT AT DRURY LANE THEATRE, JULY 19TH, 1837.

It was in the summer of the year 1837 that the citizens of Bonn, who had for the last two years been actively engaged in raising funds for the erection of a monument to Beethoven in his native city, addressed Lord Burghersh, through the Baron von Schlegel, president of their managing committee, in the following letter:--

My Lord,

Monsieur le Baron de Bulow has encouraged me to address your
Lordship on behalf of the proposed monument to Ludwig van
Beethoven, in his native town of Bonn. This project has been most
favourably entertained in Germany: we have received the profits of
many concerts given for this purpose in the small as well as large
towns, besides private subscriptions; nevertheless, our means are
still insufficient for the execution of a monument in all respects
worthy of this great genius. Besides, his glory would remain
imperfect if we did not obtain for it some conspicuous support
from abroad, and especially from London, which has become one of
the principal places in Europe in which music is cultivated in the
greatest perfection. A public concert, given in that capital, in
aid of the monument to Beethoven, would complete our wishes.

If a connoisseur and patron of talent like your Lordship would
deign to encourage such an undertaking, distinguished artists will
zealously assist, and the numerous admirers of Beethoven will not
refuse their aid to do honour to his memory.

Having had the honour, in former times, of being received by your
Lordship, and of being present at your brilliant musical
entertainments in Florence and in London, I gladly avail myself of
this occasion to recal myself to your kind recollection; and I beg
you to accept the expression of my devotion and of the great
respect with which

I have the honour to be,

My Lord,

Your most obedient and humble servant,

(Signed)

A. W. DE SCHLEGEL.

Bonn, May 21st, 1837.

Lord Burghersh, taking up the matter with the utmost zeal, addressed an appeal to the principal musical institutions of London, which in their turn showed their readiness to promote the object in view.

At a meeting of the professors belonging to the Ancient Concert, the co-operation of the members of that body was unanimously granted, Mr. Knyvett and Mr. Cramer being deputed to act as its representatives. A like course was adopted by the Philharmonic Society, which nominated Sir George Smart and Mr. Moscheles in a similar capacity; Mr. Mori and Sig. Costa were appointed by the orchestra of the Italian Opera to express the adherence of that body; and Messrs. Potter and C. Lucas, at the suggestion of Lord Burghersh, on the part of the disposable forces of the Royal Academy. Several of the principal English and foreign vocalists then in London offered their co-operation with the utmost willingness and liberality. Mr. Bunn granted the use of Drury Lane Theatre, and on the 19th of July, 1837, under the management of a committee presided over by Lord Burghersh, assisted by the Right Hon. the Earl of Cawdor and the Right Hon. Sir Gore Ouseley, Bart., and formed of the members of the musical bodies above specified, a grand concert was given, the following account of which is extracted from the musical journals of the day.

The performance which took place at Drury Lane Theatre on Wednesday evening was but thinly attended, owing to a variety of causes, among which may be noticed the dissolution of Parliament and the approaching elections, the lateness of the season, and, we fear, the high terms demanded for admission, namely, half-a-guinea the boxes, seven shillings the pit, and five shillings the gallery. In a musical point of view it realised the highest expectations that could have been formed of it; for assuredly it was the noblest entertainment of this description that ever was given in England. But considered with respect to its object, it has unfortunately been a failure, the attendance having been too small to produce any substantial contribution to the fund. This circumstance must have, in some measure, diminished the enjoyment which the admirers of Beethoven derived from the performance of some of his greatest masterpieces. But it did not damp the ardour of the performers. They evidently exerted themselves _con amore_; and we have never heard music performed with greater care, energy, or effect.

Nothing could have surpassed the splendour of the orchestra on this occasion, which was erected upon the stage, and the back of it was as high as the second tier of boxes. The principal singers were arranged in front; the chorus, consisting of 112 voices, on each side; the conductor in the centre. The band consisted of fifty violins, twelve violas, twelve violoncellos, eleven double basses, twenty-five wind instruments, &c., making a total of 110 instruments, and a grand total of about 230 performers. The soli performers were Mesdames Schroeder Devrient, Bishop, Knyvett, Birch, Wyndham; Messrs. Braham, Bennett, Balfe, Seguin, and H. Phillips. The conductors, Sir George Smart, Mr. Moscheles, and Mr. Knyvett; the leaders, Messrs. F. Cramer, Loder, and T. Cooke.

The selection combined: Part I. The Mount of Olives. Part II. The Choral Symphony. Part III. Overture Egmont.--Canon from Fidelio.--Concerto in E flat (pianoforte, Mr. Moscheles).--Grand scena in E.--And Finale from Fidelio.

The Mount of Olives, which formed the first act, was given entire for the first time in England. The solo parts were sung by Mrs. Knyvett, Mrs. Bishop, Miss Birch, Mr. Braham, Mr. Phillips, and Mr. Bennett. Braham was in perfect voice, and had his voice perfectly under his command. He sang, indeed, so well, that the principal performers in the orchestra could not refrain from offering him their friendly and hearty congratulations. The band was led by F. Cramer, and conducted by Sir George Smart.

Beethoven's great Choral Symphony formed the second act. It was admirably performed, and received with immense applause. Schroeder sang with a power and truth which only the music and a kindred genius could have supported. Mr. Moscheles' performance of the noble Concerto, and his conducting the Choral Symphony, have been already mentioned in these pages. Both were beyond commendation. The choralists in "Here seize him," and the "Hallelujah," were very effective; the former (which is a similar movement to the pistol scene in the "Fidelio") was unanimously encored.

So far the journals. That the pecuniary result of this concert should have fallen short of what might be anticipated from such a cause and such assistance, must have had its cause in the lateness of the season and the recent death of King William the Fourth. The clear profits of this concert, together with some donations, amounted to only 100_l._! No doubt that many of Beethoven's admirers in England, who were prevented from attending this solemnity, would have taken a pride in honouring the memory of the great master under more favourable auspices.

As to the proceedings of the Committee for the Beethoven Monument at Bonn, the following particulars may not be uninteresting. The President of the Committee, Baron A. W. von Schlegel, having relinquished his office, owing to an accumulation of private business, Dr. Breidenstein[210] was elected in his stead. The Committee have been most successful in their appeal to the musical world throughout Europe, so that the expenses of the proposed Monument are now nearly covered. The sums received are the produce of concerts in more than fifty different towns, the receipts of a concert given by those eminent artists Thalberg and De Beriot, at Bonn, for the same purpose, and the generous donation of 10,000 francs from Liszt, who joined the Committee as an active member. Promises of concerts for the same purpose have been received from Vienna, Paris, Brussels, and other places.

The Committee has already issued an address to artists, inviting them to send designs for the Monument before the 1st of March, 1841. From among the designs or sketches that shall be received, the three best will be selected by competent judges, and for each of them a premium of twenty frederics d'or will be paid, upon condition that the authors of them, if required, will have models made of them, upon a reduced scale, and send them to the Committee.

In order to insure perfect impartiality in the selection of the designs, the authors are requested to attach a motto to each, and to inclose the same motto in an envelop, together with the name and the address of the artist. The competition is open to artists of all countries. It is necessary to add the following remarks, as they may have an influence upon the work itself:--

1. It is decided that the Monument, or rather the statue, which is to form the most essential part of it, shall be executed, not in marble, but in bronze.

2. The sum which, at the commencement of next year, we shall have at our disposal amounts to about 13,000 dollars, Prussian currency; in addition to which contributions are announced, and confidently expected, from several of the most important German and European capitals.--ED.

No. IX.

SALE OF BEETHOVEN'S MSS. AND MUSICAL LIBRARY.[211]

Vienna, March 16, 1828.

The sale of the lamented Beethoven's MSS. and musical library, which lately took place here, excited uncommon interest among the lovers of music, amateurs as well as professional men. The following are the heads under which the articles were arranged in the catalogue:--

1. Fragments from Beethoven's musical portfolio, consisting of noted paper, scraps of various themes, &c. 2. Fragments and sketches in a more complete form. 3. Autographs of scores already published. 4. Autographs of unpublished music. 5. Copies of various Symphonies, Choruses, Overtures, Masses, &c., corrected by the composer's own hand. 6. Printed music and theoretical works. 7. A small collection of works of general literature. 8. A small collection of musical instruments. The contest for several of the articles was warm and spirited, particularly between the well-known music-sellers Artaria, Haslinger, and Steiner. More than forty works, unknown to the public, were brought to the hammer, the greater part of which are productions of Beethoven's earlier years. No doubt the present possessors will, ere long, afford the world an opportunity of enjoying these works of the lamented master. We observed that the greater proportion of them became the property of Artaria, after a severe contest with his brother publishers; several fetched extraordinarily high prices. Besides a great many other articles, Beethoven's last work, an unfinished Quintett, begun in November, 1826, fell to the lot of Diabelli, who triumphantly bore it away, at a very high price, from a host of competitors. The same gentleman also became possessor of a Solo-Capriccio, of a Rondo for pianoforte and orchestra, and of the English pianoforte which Beethoven had received as a present from the Messrs. Broadwood. The gold medal which the composer had the honour to receive from Louis XVIII. on receiving the copy of one of his grand masses was bought by some anonymous collector. But by far the most interesting article of the whole sale fell to the lot of M. Haslinger--the collection of contrapuntic exercises, essays, and finished pieces, which Beethoven wrote while under the tuition of his master, the celebrated Albrechtsberger, all in his own handwriting, with the interlineal corrections of that master, and his remarks on the margin. It is in five thick volumes, which were evidently preserved with great care. The struggle for the possession of this invaluable relic--the fruit of Beethoven's first studies--was long and spirited; but the stamina of M. Haslinger brought him through: after many a fiercely-contested round, he was at length declared the victor, none of his antagonists coming to time. We are happy to be able to state that this collection of studies,[212] so interesting to the whole musical world, is immediately to be placed in the hands of Kapellmeister Seyfried, who is to prepare it for the press. M. Haslinger also became the fortunate possessor of a pianoforte Trio, consisting of an Allegro, Adagio, Finale, and Variations, composed while Beethoven filled the place of organist in Cologne; of a short Sonata for four hands; of several songs and other vocal pieces; of a small collection, entitled _Zapfenstreiche für Türkische Musik_; of two violins, with the possessor's seal on each; and lastly, of Beethoven's copy of the works of Handel, Dr. Arnold's edition, in forty volumes folio. The latter, as is well known, was presented to the lamented composer by his friend M. Stumpff, of London, the possession of which tended so much to soothe Beethoven during his last protracted illness. The mind and talents of Handel were kindred to his own, and he was seen for hours hanging over these volumes in rapture and forgetting his sufferings. Two other competitors contended warmly for this prize--M. Gläser of Gotha, and Mr. Schenk, the well-known composer of _Der Dorfbarbier_; but M. Haslinger still retained his honours as champion of the field.[213] We must, however, observe, that, warm as the opposition was between these different opponents, the contest was still conducted with becoming respect--not to say with a certain solemnity due to the relics of the mighty dead. Some of the prices given astonished even the most enthusiastic admirers of the composer, and are the most satisfactory proofs of the deep zeal and love for the art predominant among us.

First Sketches of the Vocal Subjects of Beethoven's 9th Symphony.]

SYSTEMATIC CATALOGUE

OF

ALL THE ORIGINAL WORKS

BY

LUDWIG VON BEETHOVEN,

AS PUBLISHED BY T. HASLINGER, FROM VIENNA.

A.--PIANO FORTE MUSIC.

I.--SONATAS.

FOR THE PIANO FORTE ALONE.

No. Op.

1. Sonata in E flat
2. " in D
3. " in F minor
4. " in F minor 2
5. " in A 2
6. " in C 2
7. " in E flat 7
8. " in C minor 10
9. " in F 10
10. " in D 10
11. " in C minor 13
12. " in E 14
13. " in G 14
14. " in B flat 22
15. " in A flat 26
16. " in C sharp minor 27
17. " in E flat 27
18. " in D 28
19. " in G 29
20. " in D minor 29
21. " in E flat 29
22. " in G minor 49
23. " in G 49
24. " in C 53
25. " in F 54
26. " in F minor 57
27. " in F sharp 78
28. " in G 79
29. " in E flat 81
30. " in E minor 90
31. " in A 101
32. " in B flat 106
33. " in E 109
34. " in A flat 110
35. " in C minor 111

II.--MISCELLANEOUS PIECES,

FOR THE PIANO FORTE ALONE.

1. Andante favori, in F 35
2. Bagatelles in F 33
3. " " 104
4. " " 126
5. Fantasie in G minor 77
6. Polonaise in C 89
7. Preludes in C 29
8. Rondo in C 51
9. " in G 51
10. " in G (for Pianoforte and Violin)
11. Dances (Seven Waltzes)
12. " (Six Waltzes)
13. " (Minuets and Waltzes)

III.--VARIATIONS

FOR THE PIANO-FORTE, WITH AND WITHOUT ACCOMPANIMENTS.

1.--_For the Piano-forte alone._

No. Op.
1. Variations (Thême de Marche)
2. " (Quant' è più bello)
3. " (Nel cor più non)
4. " (Nozze disturbate)
5. " (Waldmädchen)
6. " (Mich brennt ein)
7. " (Air russe)
8. " (Tändeln und Scherzen)
9. " (La Stessa)
10. " (Kind willst du)
11. " (Es war einmahl)
12. " (in a familiar style)
13. " (Vieni Amore)
14. " (God save the King) 25
15. " (Rule Britannia) 26
16. " (Thême orig.) 34
17. " (With a Fugue)
18. " (Thirty-two Variations) 36
19. " (Thême russe)
20. " (Waltz by Diabelli)

2.--_With Accompaniments._

21. Variations (Se vuol ballare) for Piano-forte and Violin
22. " (Air de Händel) for Piano-forte and Violoncello
23. " (Ein Mädchen)
24. " (Bey Männern)
25. " (Thême orig.) for Piano-forte, Violin and Violoncello
26. " (Air écossais) for Piano-forte and Flute
27. " (Air écossais)
28. " (Air autrichien)
29. " (Air écossais)
30. " (Air écossais)
31. " (Air écossais)
32. " (Air tirolien)
33. " (Air écossais)
34. " (Air russe)
35. " (Air écossais)
36. " (Air tirolien)
37. " (Air écossais)
38. " (Air russe)
39. " (Air écossais)
40. " (Air écossais)
41. " (Air écossais)
42. " (Schwestern von Prag) for Violin and Violoncello 121

IV.--PIECES

FOR TWO PERFORMERS ON THE PIANO-FORTE.

No. Op.
1. Sonata in D 6
2. Variations in C
3. Variations in D 27
4. Three Marches in C, E flat, and D 45

V.--DUETS

FOR PIANO-FORTE AND VIOLIN.

1. Sonata in D 12
2. " in A 12
3. " in E flat 12
4. " in A minor 23
5. " in F 24
6. " in A 30
7. " in C minor 30
8. " in G 30
9. " in A 47
10. " in G 96

VI.--DUETS

FOR PIANO-FORTE AND VIOLONCELLO.

1. Sonata in F 5
2. " in G minor 5
3. " in F (with Violoncello or French Horn) 17
4. " in A 69
5. " in C 102
6. " in D 102

VII.--TRIOS

FOR PIANO-FORTE, VIOLIN, AND VIOLONCELLO.

1. Trio in E flat 1
2. " in G 1
3. " in C minor 1
4. " in B flat (Clar.) 11
5. Trio in D (Viol.) 70
6. " in E flat 70
7. " in B flat 97

VIII.--QUARTETTS AND QUINTETTS

FOR THE PIANO-FORTE.

1. Quartett in E flat, for Piano-forte, Violin, Alto,
and Violoncello 16
2. Quintett in E flat, for Piano-forte, Hob. Clar.
Bassoon and Horn 16

IX.--CONCERTOS

FOR THE PIANO-FORTE, WITH ORCHESTRAL ACCOMPANIMENTS.

1. Concerto in C 15
2. " in B flat 19
3. " in C minor 37
4. " in C, for Piano-forte, Violin, Violoncello,
Concertante, and Orchestra 56
5. " in G 58
6. " in E flat 73
7. Fantasia, with Chorus 80

B.--VIOLIN MUSIC.

X.--TRIOS

FOR VIOLIN, ALTO, AND VIOLONCELLO.

No. Op.
1. Trio in E flat 3
2. " (Serenade) 8
3. " in G 9
4. " in D 9
5. " in C minor 9
6. " (Serenade) for Violin, Flute, and Alto

XI.--QUARTETTS

FOR TWO VIOLINS, ALTO, AND VIOLONCELLO.

1. Quartett in F 18
2. " in G 18
3. " in D 18
4. " in C minor 18
5. " in A 18
6. " in B flat 18
7. " in F 59
8. " in E minor 59
9. " in C 59
10. " in E flat 74
11. " in F minor 95
12. " in E flat 127
13. " in B flat 130
14. " in C sharp min. 131
15. " in A minor 132
16. " in F 135
17. Fugue in B flat 133

XII.--QUINTETTS

FOR TWO VIOLINS, TWO ALTOS, AND VIOLONCELLO.

1. Quintett in E flat 4
2. " in C 29
3. Fugue in D 137

XIII.--SEXTETTS AND SEPTETTS

FOR THE VIOLIN, ETC.

1. Septett in E flat for Violin, Alto, Violoncello,
Clarionet, Bassoon, Horn, and Double Bass 20
2. Sextett in E flat, for two Violins, Alto,
two Horns, and Violoncello 81

XIV.--CONCERTOS AND ROMANCES

FOR THE VIOLIN, WITH ORCHESTRAL ACCOMPANIMENTS.

1. Romance in G 40
2. " in F 50
3. Concerto in D 61

C.--VOCAL MUSIC.

XV.--SONGS AND BALLADS,

WITH ACCOMPANIMENT OF THE PIANO-FORTE.

No.
1. War Song of the Austrians (1797). _Kriegslied der Österreicher._
2. Farewell to the Citizens of Vienna. _Abschiedsgesang, &c._
3. Drinking Song. _Trinklied_
4. La Partenza
5. Tender Love. _Zärtliche Liebe_
6. Prayers (Six Sacred Songs of Gellert's), Op. 32
7. Love of our Neighbour. _Die Liebe des Nächsten_
8. Of Death. _Vom Tode_
9. Reverence of God through Nature. _Die Ehre Gottes aus der Natur_
10. God's Power and Providence. _Gottes Macht und Vorsehung_
11. Penitential Hymn. _Busslied_
12. Adelaide, Op. 48
13. The Blessing of Friendship. _Das Glück der Freundschaft_
14. The Free Man. _Der freye Mann_
15. Hymn of Sacrifice. _Opferlied_
16. Urian's Voyage Round the World, Op. 52 }
17. Fire-colour. _Feuerfarb_ }
18. The Song of Rest. _Das Liedchen von der Ruhe_ }
19. May Song. _Maygesang_ }
20. Molly's Parting. _Molly's Abschied_ } Eight Songs
21. Love. _Liebe_ }
22. Marmoth }
23. The Flower of St. John's Wort. _Das Blümchen }
Wunderhold_ }
24. The Call of the OEvail, Op. 24. _Der Wachtelschlag_
25. To Hope, Op. 32. _An die Hoffnung_
26. Longing (1st Melody), Op. 38. _Sehnsucht_
27. " (2nd Melody)
28. " (3rd Melody)
29. " (4th Melody)
30. Canon for the New Year. _Zum neuen Jahr_
31. Mignon (Six Songs and Melodies), Op. 57
32. New Love, new Life. _Neue Liebe, neues Leben_
33. Romance (Göthe's Faust)
34. Gretel's Warning
35. To the absent Lover. _An den fernen Geliebten_
36. The Contented Man. _Der Zufriedene_
37. Song of the Absent. _Lied aus der Ferne_
38. Longing. _Sehnsucht_
39. The Warrior's Adieu. _Des Kriegers Abschied_
40. In questa tomba
41. The Lover. _Der Liebende_
42. The Youth in a Foreign Land. _Der Jüngling in der Fremde_
43. Hope, Op. 82. _Hoffnung_
44. The Lover's Lament. _Liebes Klage_
45. L'Amante impatiente. _Stille Frage_
46. L'Amant. _Liebes-Ungeduld_
47. Joys of Life. _Lebens-genuss_
48. Pleasures of Melancholy }
49. Longing } Three Songs, Op. 38, by Göthe
50. With a coloured ribbon }
51. Remembrance (Mathison), Op. 72. _Andenken._
52. Elegy on the Death of a Bodle. _Elegie auf den Tod eines Pudels._
53. To a Mistress who wished to part. _Als die Geliebte sich
trennen wollte_
54. Merkenstein, Op. 100
55. The Spirit of the Bard. _Der Bardengeist_
56. The Call from the Mountain. _Ruf vom Berge_
57. Germania
58. To my beloved. _An die Geliebte_ (_von Stoll_)
59. So or so
60. Resignation
61. The Secret. _Das Geheimniss_
62. Silence. _Das Schweigen._ (Canon)
63. To Hope. _An die Hoffnung_, Op. 94
64. To a distant Mistress. _An die ferne Geliebte_
(a Series of Six Songs, by A. Jeitteles), Op. 98
65. The Man of his Word. _Der Mann von Wort_, by F. A.
Kleinschmid, Op. 99.
66. Merkenstein, near Baden, by J. B. Rupprecht, Op. 100.
67. Evening Hymn. _Abendlied_, Op. 103
68. O Hope. _O Hoffnung_
69. The Song of the Nightingale. _Der Gesang der Nachtigall_
70. Canon for Six Voices
71. Canon for Four Voices
72. Canon for Three Voices
73. The Kiss. _Der Kuss_, Op. 128
74. Drinking Song. _Trinklied_

XVI.--VOCAL MUSIC,

WITH PART OR THE WHOLE OF AN ORCHESTRAL ACCOMPANIMENT.

No. Op.
1. Scena e Aria: Ah perfido 46
2. Germania
3. It is achieved. _Es ist vollbracht_
4. Scotch Songs, Book 1st } With Accompaniment for Piano
5. " " Book 2nd } Forte, Violin, and Violoncello 108
6. " " Book 3rd }
7. Calm at Sea and prosperous Voyage 112
8. March and Chorus from the Ruins of Athens 114
9. Terzett: Tremate, empi, tremate! 116
10. Elegiac Song 118
11. Hymn of Sacrifice, by Mathison, for Solo and Chorus 121
12. Hymn of Alliance, by Göthe, for two Solo Voices and Chorus 122

XVII.--MASSES, ORATORIOS, OPERAS.

No. Op.

1. Mass in C, for Four Voices and Orchestra 86
2. " in D, for Four Voices and Orchestra 123
3. Christ on the Mount of Olives, Oratorio 85
4. The Glorious Moment, Cantata
5. Fidelio, Grand Opera
6. Egmont, Tragedy (Overture, Entreacts and Songs) 84

D.--ORCHESTRAL MUSIC.

XVIII.--SYMPHONIES.

1. Symphony in C 21
2. " in D 36
3. " eroica in E flat 55
4. " in B flat 60
5. " in C minor 67
6. " Pastorale in F 68
7. " in A 92
8. " in F 93
9. " Choral in D minor 125
10. Wellington's Victory in the Battle of Vittoria 91

XIX.--OVERTURES

FOR THE ORCHESTRA.

1. Overture (Prometheus) 43
2. " (Coriolanus) 62
3. " (Egmont) 84
4. " (Leonore) 87
5. " (Fidelio)
6. " (Ruins of Athens) 113
7. " (The Emperor's Name Day) 115
8. " (King Stephen) 117
9. " (Inauguration of the Theatre) 124
10. " (Characteristique) 138

XX.--DANCES AND BALLETS

FOR THE ORCHESTRA.

1. Minuets in E flat
2. " in D
3. German Dances in C
4. Waltzes in D
5. " in D
6. Prometheus, Ballet

XXI.--MUSIC

FOR WIND INSTRUMENTS.

No. Op.
1. Trio for two Hoboes and English Horn 66
2. Sestetto for two Clarionets, two Bassoons, and two Horns 71
3. Harmonies
4. Equale for four Trombones
5. Marches for Military Bands.

MESSRS. CRAMER AND CO. ARE PUBLISHING

A COMPLETE EDITION OF BEETHOVEN'S WORKS,

EDITED BY J. MOSCHELES.

THE FOLLOWING HAVE ALREADY APPEARED:--

No. Opera. Key
1. Sonata Pathetique, dedicated to Prince Lichnowski 13 C minor.
2. Grand Sonata, dedicated to ditto 26 A flat.
3. Sonata, No. 1, Op. 29 29 G.
4. Ditto, No. 2, ditto 29 D minor.
5. Ditto, No. 3, ditto 29 A flat.
6. Grand Sonata, dedicated to Count de Browne 22 B flat.
7. Sonata, dedicated to Mademoiselle Juliette
Guicciardo, No. 1 27 C minor.
8. Sonata, dedicated to the Princess de Lichtenstein,
No. 2 27 E flat.
9. Sonata (Pastorale), dedicated to M. Sonnenfells 28 D.
10. Sonata 90 E minor.
11. Ditto 54 F.
12. Ditto 110 A flat.
13. Ditto, dedicated to the Countess of Brunswick 78 F # major.
14. Sonata, dedicated to Haydn, No. 1 2 F minor.
15. Ditto, ditto, No. 2 2 A.
16. Ditto, ditto, No. 3 2 C.
17. Grand Sonata, dedicated to Madame Antonia
de Brentano 111 C minor.
18. Grand Sonata 7 E flat.
19. Sonata, No. 1 49 G minor.
20. Ditto, No. 2 49 G.
21. Sonata, dedicated to Madame la Comtesse de Browne,
No. 1 10 C minor.
22. Ditto, dedicated to ditto, No. 2 10 F.
23. Ditto, dedicated to ditto, No. 3 10 D.
24. Grand Sonata, dedicated to Count de Waldstein 53 C.
25. Sonata Appassionata, dedicated to Count de Brunswic F minor.
26. Sonata Caracteristique 81 E flat.
27. Sonata, No. 1 14 E.
28. Ditto, No. 2 14 G.
29. Grand Sonata 109 E.
30. Grand Sonata, Part I. 106 B flat.
31. Ditto, Part II. 106 B flat.
32. Sonata 101 A.
33. Sonata 79 G.
34. Fantasia 77 G minor.
35. Andante 35 F.
36. Variations e Finale alla Fuga E flat.

SONATAS FOR PIANO AND VIOLIN

1. Grand Sonata, No. 1, dedicated to Salieri 12 D.
2. Sonata, No. 2, dedicated to ditto 12 A.
3. Ditto, No. 3, dedicated to ditto 12 E flat.
4. Sonata, dedicated to Monsieur le Comte Maurice
de Fries, No. 1 23 A minor.
5. Sonata, dedicated to ditto, No. 2. 23 F.
6. Sonata, dedicated to the Emperor of Russia, No. 1 30 A.
7. Ditto, dedicated to ditto, No. 2 30 C minor.
8. Ditto, dedicated to ditto, No. 3 30 G.
9. Grand Sonata, dedicated to Prince Rudolphe 96 G.
10. Grand Sonata, dedicated to M. Kreutzer 47 A.

SONATAS FOR PIANO AND VIOLONCELLO.

1. Grand Sonata, No. 1 5 F.
2. Sonata, No. 2. 5 G.
3. Sonata 17 F.
4. Ditto 69 A.
5. Ditto, No. 1 102 C.
6. Ditto, No. 2 102 D.

TRIOS FOR PIANO, VIOLIN, AND VIOLONCELLO.

1. Trio, No. 1 1 E flat.
2. Ditto, No. 2 1 G.
3. Ditto, No. 3 1 C minor.
4. Trio 11 B flat.
5. Trio (from the Septetto) 38 E Flat.
6. Ditto, No. 1 70 D.
7. Ditto, No. 2 70 E flat.
8. Ditto 97 B flat.

CONCERTOS.

No. Opera. Key.
1. Concerto 15 C.
2. Ditto, dedicated to Monsieur Charles Nikl 19 B flat.
3. Concerto, dedicated to Prince Louis Ferdinand
de Prusse 37 C minor.
4. Concerto 58 G.
5. Concerto, dedicated to Archduke Rudolphe 73 E flat.
6. Fantasia with Chorus 80 C minor.

AIRS WITH VARIATIONS.

1. Air Russe
2. Nel cor più
3. Une Fièvre
4. Air from the Ballet of Le Nozze
5. La Stessa la Stessissima
6. Swiss Air

(TO BE CONTINUED.)

Mount of Olives (Oratorio)--English Version. By Thos. Oliphant,
Esq. The Choral Parts to be had separately.

Six Songs, with English Words. By Thos. Oliphant, Esq.

Fidelio, a Grand Opera.

*** Publishing by Subscription, a complete Edition of the Quatuors
for two Violins, Tenor, and Violoncello.

THE END.

London: Printed by WILLIAM CLOWES and SONS, Stamford Street.

FOOTNOTES:

[1] Delivered in the year 1824, in Carlsruhe, Darmstadt, Francfort, Mayence, Stuttgart, and Tübingen; they appeared in print in 1826.

[2] It was that of 1802.

[3] It must be obvious that, in this division, I do not mean to assert that Beethoven's mental development admits of the like limitation, or is tacitly comprehended under it. To pretend to fix precise limits to that would be a bold attempt, inasmuch as his works were not published in the order in which they were composed. I shall recur to this subject in treating of the first period.

[4] At page 81 of his biographical particulars, Ries, in his account of the meeting of Beethoven and Steibelt at the house of Count Fries, where Steibelt performed a "studied Fantasia brillante on a theme from a Trio of Beethoven's," tells us, "This gave great offence to the admirers of Beethoven, as well as to that composer himself; he was next called to the piano to extemporize: he went in his usual, I might say, rude way, to the instrument, as though half-pushed towards it." But hold!--who could help being revolted also on reading this instance of Beethoven's rudeness from the pen of his pupil and friend, and reasoning thus:--

Rudeness is the highest degree of ill-breeding. If he, from his thirtieth to his thirty-fifth year, "usually behaved rudely," even in the higher circles--as we are told in the anecdote related by Ries, page 92--he was and must have been rude all his life, even though he had intercourse with an Archduke of Austria. At that period of life Beethoven had arrived when Ries was in Vienna. What then could be alleged in excuse of Beethoven, if Ries were right? But how many of those friends and admirers of the illustrious deceased, who knew him longer and had opportunities of forming a more correct opinion of him than Ries, will solemnly protest against such a charge! Is it fair to publish to the world a momentary fit of ill-humour in any man, be he who he may, that it may serve as an authentic source for estimating his character? and especially in a man who belongs to remote posterity, who deserves to be recommended in so many respects to younger artists as a model worthy of imitation? Or, let me ask, is it right to drag before the tribunal of the public what has been said and done in unguarded moments among friends and acquaintance? That maxim is in general entirely false which says that "about great men anything and everything may be told: it can do them no harm." Without taking into account that this maxim is in itself very relative, the character of every man, without any reference to his mental qualities, is the point which, in a portraiture of him, should be treated with most tenderness, at the same time without derogating in the slightest degree from the truth.

[5] Dr. Wegeler published in consequence a copy of Beethoven's baptismal register, which is as follows:--

"Extract, Church Register, St. Remigii, at Bonn.

"Anno millesimo septingentesimo septuagesimo, die decima septima Decembris, baptizatus est _Ludovicus_, Domini Johannis van Beethoven et Helenae Keverichs, conjugum, filius legitimus: Patrini: Dominus Ludovicus van Beethoven, et Gertrudis Müllers, dicta Baums.

"Witness to the truth of the above extract,

"THE BURGOMASTER.

(Signed) "WINDECK.

"_Bonn, 28th June, 1827._"

[6] When M. Brockhaus announced the eighth edition of the "Conversations-Lexicon," I wrote to him, on the 17th of February, 1833, calling his attention to that fable, and requesting him to omit the passage relative to Beethoven's parentage in the new edition, which he complied with.

[7] The same Count von Waldstein to whom Beethoven dedicated his grand Sonata, Op. 53.

[8] Or, as Wegeler gives it, like the "iniquæ mentis asellus" of Horace.--ED.

[9] See my note, p. 228.--ED.

[10] M. Ries was treated in the same manner, as he told me, while under Beethoven's tuition. "I played," said Ries to me, "while Beethoven composed or did something else; and it was very rarely that he seated himself by me and so remained for half an hour." Ries tells a different story in his publication.

[11] How happens it that Beethoven, sensible of the impropriety of this system of education, should not have avoided it in bringing up his nephew? We shall have occasion to recur to this subject in the proper place.

[12] "In order to become a good composer, a person should have studied the theory of harmony and the art of counterpoint from the age of seven to eleven, that when the imagination and feeling awake, he may have accustomed himself to invent according to rule." How absurd and untrue this assertion is, in every respect, I there showed in the proper place; and likewise that Beethoven thought precisely the reverse, especially on instruction in counterpoint, and that he expressed himself clearly and explicitly on that subject.

[13] See Supplement No. IV., Vol. II.

[14] And yet M. Ignatz von Seyfried, in the biographical particulars of Beethoven appended to the work published by him and M. Haslinger, with the title of "Beethoven Studien," does maintain the contrary, which Dr. Wegeler has shown to be wholly unfounded.

[15] This Sonata, quasi Fantasia, Op. 27, is known in Austria by the inappropriate appellation of "Moonshine Sonata," which is meant to designate nothing more than that enthusiastic period of Beethoven's passion.

[16] For the correction of each of his larger works Beethoven took, upon an average, one-third of the time that had been occupied in its composition. This observation I had occasion to make from many of his works. His corrected scores show how he proceeded in general in the labour of revising and improving.

[17] See Supplement No. I., Vol. 1.

[18] Printed in the _Neue Zeitschrift für Musik_, No. 19, of the year 1837. For the series of Beethoven's letters to the music-publishers of Leipzig, see Supplement No. I., Vol. 1.

[19] Beethoven was not accustomed to ask singers if they could execute what he had written. The consequence was that these made arbitrary alterations without consulting him.

[20] Of the first members of that Quartett, which belongs to the history of the art, M. Sina is the only one now living, and in Paris. M. Franz Weiss died shortly before Beethoven, M. Schuppanzigh soon after him, and M. Linke a few years since.

[21] The consequences of this excess must inevitably follow, and the gigantic enterprises of this kind that are so frequently seen and heard of, resting on insecure foundations, will, by degrees, fall of themselves, after doing much more injury than benefit to the art.

[22] Count Franz of Brunswick, Baron J. Gleichenstein, Baron Pasqualati, M. de Zmeskall, M. and Madame Streicher, and Moritz Count von Lichnowsky.

[23] This document, in Beethoven's own handwriting, has lately been left in charge of Messrs. Cramer and Co., to be disposed of for the benefit of a female relative of Beethoven's, who hopes to derive some advantage from its sale.--ED.

[24] The whole tenor of this will, or rather memorandum addressed to his brothers, attests the state of deep melancholy into which Beethoven had fallen on account of his deafness--a state which, owing to the same cause, was of frequent recurrence. That throughout this paper Beethoven should not have mentioned the name of his second brother, Johann, and only marked it with dots, is singularly striking; since this brother, as we have just seen, had recently come to Vienna, and had scarcely begun to take any part in the occupations and other concerns of the great composer.

[25] The noble-minded Count Moritz Lichnowsky, whose devotedness to the interests of Beethoven the latter acknowledged by the dedication of two works,--the Variations Op. 35, and the Sonata Op. 90 (E minor), died in December, 1838, in Vienna. He was the last of that set so remarkable in the history of the art, which used to assemble at the house of his brother, the Prince.

[26] Such is the account given by Count Moritz Lichnowsky, who, with Ferdinand Ries, witnessed the circumstance.

[27] Is not this meant to be--"Per festeggiare la memoria d'un grand' uomo?"--ED.

[28] The originally French libretto was translated into German by Joseph Sonnleithner.

[29] In the third period I shall have something more to say about it in the proper place.

[30] Refer to Breuning's letter to Dr. and Mad. Wegeler. Supplement No. II., Vol. II.

The circumstance which occurred at the house of Prince Lichnowsky, on occasion of the alteration made in this Opera in 1807, which M. Röckel,{*} then engaged as tenor singer at the Theater an der Wien (with whom I am myself well acquainted), afterwards related to M. Ries in London, and which the latter communicates in his "_Notizen über Beethoven_," (p. 105), is interesting and authentic. Not less worthy of notice is Breuning's letter of the 20th of June, 1806, to Dr. Wegeler (p. 62) on the fortunes of the opera of "Fidelio" at its first representation. Count Moritz Lichnowsky was one of the company, in which Beethoven opposed with might and main the omission of a single bar, and gave all present a great deal of trouble.

{*} The following note from Wegeler's Notizen is, I think, not misplaced here:--

"Dear Röckel,--Try and do your best with _Milder_" [Ma dame Milder, for whom the part of Fidelio was written--ED.], "and pray tell her you ask her to-day in my name, that this early invitation may prevent her singing _anywhere else_. To-morrow I mean to come myself 'to kiss the hem of her garment.' Do not forget _Marconi_" [a celebrated Contra-Alto of the time.--ED.], "and, above all, do not be angry with me for thus overburthening you.

"Ever yours,

"BEETHOVEN."

[31] It is said that, in the rehearsals of his "Christ on the Mount of Olives," quarrels took place from similar causes between Beethoven and the singers.

[32] Mozart experienced similar, nay still more painful mortifications, calumnies, and even depreciation of his abilities, on account of his Opera '_Die Entführung aus dem Serail_,' from the singers and other envious creatures, at the head of whom was his professional colleague M. Salieri. We learn from the biography of that unrivalled composer, published by M. von Nissen and Mozart's widow, that those cabals and persecutions were carried much further on occasion of his succeeding opera '_Figaro's Hochzeit_,' so that, on the conclusion of the second act, Mozart, filled with indignation, went to the Emperor Joseph in his box, and complained of the singers, who were brought back to their duty by a severe reprimand from the monarch. Such baseness and such malice, which incessantly persecuted the immortal Mozart, even after his death, and which found means to deprive his family, left in necessitous circumstances, of the promised support of the Emperor Leopold, are, and will perhaps for ever, remain unparalleled.

[33] It were sincerely to be wished that, in future editions of Beethoven's works, the dedications should never be omitted, as is so frequently the case. It was in some instances affection, in others gratitude, which gave our artist occasion to name those who were loved and esteemed by him; and with many of these dedications not unimportant circumstances are associated. Beethoven meant thereby to pay a real tribute of honour and respect to his friends and patrons, without harbouring the slightest expectation of being presented with rings, shirt-pins, gold snuff-boxes, and watches, for his public testimonies of esteem.

[34] At p. 83, M. Ries speaks of the performance of the _Fantasia for the Piano-forte_, Op. 80, in which the clarinet-player, by overlooking a repetition, occasioned an interruption. M. Ries proceeds thus with his narrative:--"Beethoven started up furiously, turned himself round, and abused the members of the orchestra in the grossest terms and in so loud a tone as to be heard by the whole audience. At length, he cried 'Begin again!' The theme was re-commenced; each performer fell in at the proper place, and the result was splendid. But when the concert was over, the performers, remembering too well the honourable epithet which Beethoven had publicly applied to them, fell into the most vehement rage, as though the affront had only just then been offered; and vowed never to play again if Beethoven was in the orchestra."

The assertion that Beethoven loudly desired that Fantasia to be repeated, on account of the blunder of the first clarinet, is true enough; but, as for any abuse of the members of the orchestra, who were not in fault, and that, too, "in the grossest terms," M. Fr. Clement, the able orchestra-director, with whom Beethoven brought out his Fidelio, the fourth, fifth, and sixth Symphonies, and that Fantasia, who still occupies his post at the Theater an der Wien, knows nothing about it.{**} Other members of the orchestra at that time, who are still living, know just as little of the matter, and protest against the statements of M. Ries. The latter was not present when Fidelio was brought out, for he was then on his way to Russia, and those Symphonies mentioned by him, p. 83, were not composed by Beethoven till several years afterwards, any more than the Fantasia in question.

At p. 84, M. Ries thus continues:--"A similar scene is said to have once occurred, but the orchestra resolved not to put up with the affront, and peremptorily insisted that he should not conduct. Accordingly, during the rehearsal, Beethoven was obliged to stay in an adjoining room, and it was a long time before this quarrel was made up."

Not a creature in Vienna has any recollection of such a scene, and, during my residence of twenty-three years in that city, I never heard a syllable on that subject.

{**} I remember having myself been present at the performance in question, seated in a corner of the gallery in the Theater an der Wien: during the last movement of the Fantasia I perceived that--like a carriage run away with down hill--an overturn was inevitable. Almost immediately after, it was, that I saw Beethoven give the signal for stopping. His voice was not heard; but he had probably given directions where to begin again--and after half a moment's respectful silence on the part of the audience--the orchestra re-commenced, and the performance proceeded without further mistake or stoppage.

To those who are acquainted with the work, it may be interesting to know the precise point at which the mistake occurred. It was in the passage where, for several pages, every three bars make up a triple rhythm, as shown on the following page. This peculiarly-constructed rhythm has, until the present time, like most of Beethoven's characteristics, remained his undisputed property.--ED.

[35] The house of Count Franz von Brunswick at Pesth had been for many years a seminary of the true and pure professional faith, without prepossession in favour of any classic. None of the seductive false doctrines of the present day could gain admittance there. To describe the part taken in these pursuits by the countess, who is his pupil, and the most exquisite player on the piano-forte that I ever heard, would require a separate essay, in order to do justice to her performances and to their effects upon her auditors. Let us hope that these abilities may be hereditary in that remarkable family.

A family akin for talents and abilities to that of Brunswick, and whose pursuits have taken the same direction, is still to be found at Geilenkirchen, in the province of Rhenish Prussia. The house of M. Max. Flemming, merchant, of Geilenkirchen, near Aix-la-Chapelle, exactly resembles in this point that of the Hungarian magnate. An intimate acquaintance with, and profound comprehension of, the musical classics were transmitted by the parents to the children in a degree that is rarely witnessed in our times, when domestic music in particular has universally assumed an ephemeral character, and aims only at tickling the senses. Thus in that house too a temple has been erected to Beethoven's Muse, and its service heightens the happiness of the interesting inmates in a manner that must inspire the intelligent observer with the warmest interest for persons holding forth so rare an example.

[36] Among other scenes between Beethoven, his brothers, and friends, M. Ries describes with graphic minuteness one which is particularly to the point (p. 88).--See Supplement No. IV., Vol. II.

[37] "During the short bombardment of Vienna by the French, in 1809, Beethoven was excessively alarmed; he passed most of the time in a cellar at his brother Caspar's, where, besides, he covered his head with pillows that he might not hear the cannon."--Such are the words of M. Ries, p. 121 of his '_Notizen_.'

[38] To this sum the Archduke Rudolph contributed 1500 florins, Prince Lobkowitz 700, and Prince Ferdinand Kinsky 1800.

[39] See Supplement No. VI., Vol. I.

[40] Bettina relates, in her letter of the 28th of May, to Göthe, that she committed to writing Beethoven's remarks on art, &c., which he made the day before in a walk with her, and that she gave him them to read, upon which he asked her in astonishment--"And did I indeed say all this?--Then I must certainly have had a _raptus_!"